Seat weaving

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t-UBRARY^.

SEAT WEAVING

BY

L. DAY PERRY

Supervisor of Manual Training, Joliet, Illinois,

and Instructor, Department Esthetic and Industrial Education,

Summer Quarters, The University of Chicago

THE MANUAL ARTS PRESS

PEORIA, ILLINOIS

Copyright, 1917, by
L. Day Perry

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FOREWORD

Woodworking shops in manual training schools far outnumber
those for other manual activities, and as a result, courses in wood-
work have come to be termed the stable courses in a handwork
curriculum. However, experience in woodwork alone is not suf-
ficient, and needs to be supplemented by other and more varied
activities to give to the boy a proper foundation for choice of
vocation.

A definite way to produce necessary variety as applied to wood-
work, especially if woodwork is the only course offered, is thru the
use of such mediums as cane, reed, rush, splints and allied materials
in correlation with the wood. These materials add life to the
problems and generally arouse interest and enthusiasm in the work
at hand. The result is careful application to construction details,
with resultant appreciation of constructive design.

It would, prove a difficult task to make a fair estimate of the
value such mediums have in manual training shops. Their use
produces very definite reactions upon boys who could not be reached
by woodwork alone, awakening them to a new interest in their
work and making them more workmanlike and exacting in con-
struction.

There exists some element in such mediums which cannot be
defined, but which nevertheless stimulates the average or mediocre
boy, as well as the exceptional one, to produce the best work of
which he is capable. Experience with these materials utilized in
correlation with wood will prove the truth of these statements and
demonstrate that they are not only worth while, but necessary to
any well-rounded course in wood.

The originals of the projects illustrated by the photographs were,
with few exceptions, constructed by boys of average ability in the
eighth grade. They indicate the character of work which may be
3

expected of boys in that grade, and, in a measure, the first two years
of high school.

Practically the entire emphasis is laid upon weaving as applied
to some form of seat, either as a decorative feature or as a necessary
part of the structure. These materials may be utilized in various
ways on varied types and forms of furniture other than seats, a few
of which are suggested. Experience with them will lead the worker
to new and interesting fields of a distinctly educational nature.

Joliet, Illinois, November, 1916.

L. DAY PERRY.

ACKNOWLEDGMENTS

Acknowledgments are hereby made to The Bruce Publishing
Co., for permission to re-use the material in Chapters I and II
which appeared in The Industrial Arts Magazine in a modified
form; to The Periodical Publishing Co., for the photograph shown
in the frontispiece ; to M. F. Gleason, Joliet, for the sketches shown
in Figs. 5, 6 and 8; to T. S. Moore, Joliet, for his cooperation in
all the photographic work; and to the instructors in the Joliet
Department of Manual Training who have assisted in working out
a number of the problems.

L. IX P.

CONTENTS

PAGE

FOREWORD 3, 4

ACKNOWLEDGMENTS 4

CHAPTER I. — CANING; THE SEVEN STEPS 7

Cane 7, 8

Equipment 8, 9

Beginning the Operation 9, 10

The Seven Steps in Caning 10-14

CHAPTER II. — CANING SUGGESTIONS 15

Irregular Areas 17-21

Five-Step Caning 2 1 , 22

The Design Element 22-25

CHAPTER III. — RESEATING A CHAIR; HAND CANING. . . 26

The Process 27-3 1

Refinishing ' 31-33

CHAPTER IV. — RESEATING A CHAIR; CANE WEBBING. . . 34

The Process 3 5-40

CHAPTER V. — RUSH SEATING 41

Historical ., 4i~42

Rush 42-43

Other Materials 43~44

Preparation of Materials 44—46

The Weaving Process 46—49

Rectangular Seats 49—50

Irregular Seats 50—51

Suggestions 5 1-54

Finish 54

CHAPTER VI. — REED AND SPLINT WEAVING 55

Primitive Methods 56-57

Bleaching 57~58

Staining 58-59

Other Materials 59-62

CHAPTER VII. — SEATS OF REEDS AND SPLINTS 63

Indian Splints 72-79

A Rustic Chair 79-80

A Woven Table 81

Willows 81-82

WEAVING MATERIALS : Where to Obtain 84

Courte.ii/, Periodical Publishiii;/ CD.

A TYPICAL ALLEY SCENE IN HONG KONG SHOWING NATIVE MEN AM)
WOMEN SORTING AND STRIPPING RATTAN.

CHAPTER I

CANING; THE SEVEN STEPS

That caning has not been undertaken to any appreciable extent
in school shops is due to the fact that instructors are unfamiliar
\vith the weaving processes. Caning is not difficult. It, in common
with many other lines of activity, is best learned thru observation.
However, it may be undertaken by the average person after careful
study of printed directions and illustrations. If the worker will
closely observe his own work as it progresses, and follows ins,truc-
tions carefully, he should have no unusual difficulty in caning an
area very acceptably in the initial attempt. Particular attention
should be paid to directions which tell of errors to avoid. Errors
creep in, in a very unobtrusive manner at times, and the amateur
will find them hard to detect.

Cane. — Cane is the name applied to a great number of plants
which possess long, slender, reedlike stems. The name should apply
only to a class of palms called rattans. These plants are found
thruout the Indian Archipelago, China, India, Ceylon, and the
Malay Peninsula. They grow in dense, dark forests and form a
matted undergrowth which makes passage difficult or impossible.
These palms are trailing in tendency, yet frequently grow to tree
height. They then fall over and lie on the ground. The stem is
covered with beautiful green foliage, grows to a length of 100 to
300 ft., and rarely exceeds I in. in diameter. The stems are cut
into lengths of 10 to 20 ft. for export. The outer bark is stripped
into widths varying from 1/16 to 3/16 in. These strips are put
into hanks of 1,000 lineal feet each. The cane is then ready for
the cane weaver. A hank of cane costs from 60 cents to $i. The
width of the cane and its quality determines the price per hank.
It may be purchased from any upholstery supply house.

8 SEAT WEAVING

Cane is named from the narrowest to the widest in order:
carriage, superfine, fine-fine, fine, medium, common, narrow binder,
and wide binder. Cane from India has a very glossy surface, while
that from other localities is duller. The right side of the cane is
easily determined by this glossiness.

Cane for weaving purposes should not be confused with the
popularly called cane or bamboo of our southern states, where it
forms the well known cane-brakes. This cane rarely exceeds a
height of 20 ft. It grows rapidly and very straight, and to an

FIG. 1. THE CANING NEEDLE.

appreciable diameter. Such cane is used for bamboo furniture,
walking sticks, poles, etc. The ordinary domestic sugar cane, also,
should not be confused with seating cane.

Equipment. — The tools needed in cane weaving are few in
number. A special one is called the caning needle. This may be
made in the school shop. Fig. i shows a working drawing of the
needle. Its length is variable, depending upon the work at hand.
It is desirable to have a number of different lengths. The tool is
made of good flexible steel wire. This is flattened at one end, an
eye cut in it, blunt pointed, and slightly curved as indicated. The
other end is inserted in an ordinary small tool handle, extended
thru and riveted. The riveting prevents the wire from drawing
out of the handle under a pulling strain.

The other tools needed are a scratch awl, and a pair of scissors
or knife. A button-hook with the hook straightened or cut off

CANING; THE SEVEN STEPS

may take the place of the awl. A pair of dividers and rule are
necessary for marking. Several wood pegs are needed. These may
be classed with the tools. They are made from a % in. dowel rod,
or the equivalent. Cut them about 4 in. long and point them as
you would a lead pencil. The amateur is inclined to use a number
of pegs. Four should prove amply sufficient.

Beginning the Operation. — Fig. 2 is a photograph of an up-
holstered leg rest with caned sides. This rest will be used for our
initial work in cane weaving, in-
asmuch as the area for caning is
rectangular. It is not advisable
for the beginner to have his initial
experience on a chair seat, for the
area is usually of an odd shape,
and arms, legs, and back interfere.
However, any rectangular area
on which there are no projections
to bother may be used for the first
trial.

It is assumed that the sides
of the rest have been fitted. The
rails and stiles are then assembled

with glue, without the posts. When the glue has set the proper
length of time, and the frame is cleaned and sanded, the rails and
stiles are ready to dimension.

Draw pencil lines entirely around the inner sides of the rails and
stiles, y2 in. from the edges. This distance remains constant,
usually, on all areas and with canes the various widths. With a
pair of dividers set at y2 in. space off points on the pencil lines,
starting from the intersection of the extended lines on each rail.
Fig. 3 is a working drawing of a corner, dimensioned as suggested.
It will make clearer the directions. It is fundamental that the
spacing be done in the same direction on parallel rails, for at times

FIG. 2. LEG REST.

II)

SEAT WEAVING

the last space will be a short l/2 in. or whatever dimension is used.
In such cases it is necessary to redivide the last several spaces into
divisions as near y2 in. as possible. It thus becomes obvious why
spacing must be done in one direction as stated. This applies to
all rectangular frames.

With a 3/1 6 in. wood bit bore holes thru the rails and stiles at
the points marked. Countersink the holes slightly on the underside

FIG. 3. SKETCH OF CORNER FOR CANING.

HH
cp 9

of the frame. This is not absolutely neces-
sary but aids considerably in locating the
holes, and in other ways. In shops where
power machinery is available a vertical borer
may be used for this purpose. It is best to
carefully mark the points for boring with a center punch. The
twist bit will then start accurately and the danger for getting out
of line will be reduced to a minimum. The dimensions given here
are for fine-fine cane. Use sandpaper to remove pencil lines and
rough edges left from boring; then clamp the frame over the edge
of a table or bench with a carriage clamp; sit while doing the
weaving.

The Seven Steps in Caning. — Fig. 4 shows the seven steps in
caning. Refer to this photograph thruout the following directions.
The numbers on the photograph refer to the steps.

Step i. A hank of cane should be soaked for a few minutes in
warm water, or longer in cold. Do not soak it too long. Start a
strand by drawing one end thru a hole. next to a corner hole, and
let it project about 3 in. below. Fasten with a peg. Then starting

CANING; THE SEVEN STEPS 11

at the peg, pull the entire strand thru the thumb and forefinger to
prevent twisting, and pull the end down thru the hole on the
opposite parallel rail next to the corner hole, and then up thru the
hole next to it. See that the right side of the cane is out on the

FIG. 4. THE SEVEN STEPS IN CANING.

underside of the frame as on the top. Pull the cane reasonably
taut, and fasten with a peg to prevent the strand from slipping back
and becoming loose. Draw the cane thru the thumb and forefinger
again ; pull it across the frame and down thru the hole next to the
peg and up thru the hole next to it. Pull taut and fasten with the

^-a.
m v

12 SEAT WEAVING

second peg. This operation is repeated until all holes have been
utilized on the two parallel rails, except those on the corners.
Thruout the seven operations it is necessary that the cane be ke-
from twisting by drawing the remaining part of the strand th
thumb and forefinger.

Step 2. The second step is identical with the first, with the dif-
ference that the other two parallel rails are used, and that the
canes run over the first set of parallel
canes. If the first strand of cane ha
not been entirely used up in the firs

FIG. 5. METHOD OF TYING • j • i -

ENDS OF CANE. steP> the remainder is used to begiy

the second step.

Step j. This step is a repetition of the first two. The canes o
this series run over the first and second series and parallel with th"
first. As each strand is used up bind the end by pulling it undei
a cane, crossing from one hole to another underneath the frame
and cutting off about % m- from the cane. Fig. 5 shows how thi:
binding is done. The loose end at the starting point is tied in thi
way, and all subsequent ones should be tied as they come, thu
avoiding interference by many pegs, and insuring neat binding.

Step 4. The actual weaving begins with this step. It may b
done entirely by hand, without resort to the needle, but it is slov \
work. The needle should be used. Start at a hole next to a corner
on either rail that has been used but once, working from caned side
toward the open frame. Go over and under the strands necessary
to form the weave, turning the needle from side to side in order to
catch the canes behind the point. When across thread the needle
with the strand and pull thru, being careful to avoid a twist. Pull
the end down thru the hole, pairing the canes. Pull the cane up
thru the next hole; then start the needle from the opposite side of
the frame and repeat the first operation, thus pairing another set
of canes. Continue until all canes are paired and all holes used.
Soak the woven cane with a wet sponge, and with two pegs
straighten the strands of cane and force all pairs together. Small,

CANING; THE SEVEN STEPS

13

open squares are thus formed over the area being caned. Unless
the cane is soaked it will prove rather difficult to pair the canes.
Step 5. This step is the weaving of one set of diagonals. Start
le strand at any corner hole. Use one hand over and one under
le frame. As the worker becomes skilful he will find it easier
to give the cane a slight curve and work with both hands on the
upper surface. Use an end of cane
long enough for convenient hand-
ling; then pull the entire strand
thru the length of the frame, pro-
aded the area is not too great.
Care must be taken to avoid twist-
ing the cane. The cane will run
easily, and partially under a cane
at the corners of the squares, if corr
rectly done. Fig. 6 shows this
clearly, as does the illustration in
Fig. 27. The second illustration
is a photograph of a strip- of cane
webbing, is approximately half size,
and will supplement the freehand

sketch. The corners will bind, and the strand will pull with diffi-
culty if the cane is incorrectly woven. On parallel canes note that
the canes either run over or under the pairs.

Step 6. This step is identical with the preceding one. The canes
are at right angles to the first diagonals. In this step and the
preceding one note that two strands run into the corner holes.
This holds true in all rectangular frames where a corner hole is
bored. It permits the strands to run in as straight a line as pos-
sible. If it is necessary to turn abruptly to enter a hole it is obvious
that an error has been made by the weaver.

Step 7. Pull a cane of the same size as used in the other steps up
thru a hole, over the binder cane and down thru the same hole.
A loop is thus formed and the binder secured. Pull taut, then

FIG. 6.

FREEHAND SKETCH OF
CANING.

14 SEAT WEAVING

enter the next hole, pull up the cane over the binder and down,
and so on. This operation may be repeated at every other hole
when the holes are close together. The two ends of the binder are
finally overlapped and secured, and the operation thus completed.
At times, when the last strands are woven, it may prove advisable
to secure canes underneath the frame by plugging the necessary
holes ; at least in instances where the canes have a tendency to
work loose.

SrCKJKSTIVK PROJECTS.

CHAPTER II
CANING SUGGESTION'S

As weaving progresses difficulty will be experienced in inserting
cane ends in the holes, due to their becoming filled. Force the
scratch awl thru and turn it several times! "This will effectively
force an opening.

In many instances long ends of cane remain from one series to
another. These generally, as previously mentioned, should be used
in succeeding steps. There is one limitation. They should be
used provided it is not necessary to carry them over more than four
holes on the under side of the frame. The fewer loose ends left,
the better, for the caning is thereby neater and better. It is gener-
ally advisable to use a full length strand to avoid a number of
loose ends.

The amateur will find his greatest difficulty in properly weaving
the diagonals at the edges; that is, immediately upon entering or
leaving a hole. Many commendable pieces of caning are spoiled
by ragged, improperly woven edges. Care must be taken to see
that the cane goes over and under the proper strand or strands at
these points. Fig. 6 clearly shows how the diagonals should run.
Study it carefully.

The addition of a binder is generally a matter of taste. Perhaps
50 per cent of modern hand caned furniture does not employ a
binder of any description. The series of regularly exposed holes
are rather pleasing and in no way detract. However, in chair seats'
a binder is essential to protect the ends of canes, for they are subject
to hard wear.

Binders of reed or of wood called "splines" may be used on hand-
caned frames. If either is used a groove % m- deep and 3/16 in.
15

n;

SEAT WEAVING

wide is cut coincident with the holes before weaving is begun.
After the area is caned the strips are fitted and glued in. Use little
glue. Tap the splines firmly with a mallet used over a block of
wood, until they are flush with the woven cane. Chapter IV gives
the method in detail.

The size of the holes and the distance between them is deter-
mined largely by the size of the
cane used. Some prefer coarse
meshed areas, while others desire
them closely woven. There is,
however, what we may term a
standard mesh. The individual
may vary the dimensions given to
suit himself. The Jacobean or
early caning was invariably of
coarse mesh.

Carriage and superfine cane re-
quire }i in. holes and Y% in. spa-
ces; fine-fine cane requires 3/16
in. holes and j/2 in. spaces; fine
cane requires 3/16 in. holes and
Y% in. spaces ; medium, % in. holes
and y\ in. spaces. Fine-fine and
fine cane are the best sizes for
shop use. A small amount of medium binder is desirable.

One hank of cane will ordinarily be sufficient for a half-dozen
areas of approximately 12 in. by 12 in.

Most old pieces of period furniture utilizing cane employ a
particularly narrow split horizontally and vertically, and a wider
split diagonally. The opposite practice may be employed — a finer
split of cane being used diagonally than horizontally and vertically.
Both effects are pleasing.

In all illustrations of rectangular areas shown herein, corner

FIG. 7. WINGBACK CHAIR.

CANING SUGGESTIONS 17

holes are bored and "utilized in the cane weaving. These are not
absolutely necessary; in fact caned areas on many pieces of period
and modern furniture do not utilize corner holes. In such instances
two diagonal strands are run in each hole on either side of the
corner. A comparison of the areas, the one employing a corner
hole, and the other not, will lead the observer to conclude that the
former appears complete while the latter appears unfinished.

It is frequently necessary or desirable
to cover up the cane on the back or inside
of an article. This is true of places ex-
posed to view, and is especially advisable
on such pieces of furniture as the wing-
back chair shown in Fig. 7. This chair FIG- 8- SKETCH OF STRIP

, TUT-,,- i n/r j • j TO COVER CANE ENDS.

of William and Mary design was made

in a school shop, is hand caned, and of mahogany. The exposed
cane is covered with strips of mahogany % m- thick and I in. wide
in which a groove l/% in. deep and ^ in. wide has been run. This
groove may be made with saw, chisel, or combination plane. Fig. 8
shows a sketch of such a strip. It makes a neat, pleasing cover.
Many pieces of so-called expensive furniture have ragged, exposed
caning. This is unsightly and is not to be commended.

Wherever it is found desirable to leave cane natural, it is neces-
sary that the frame be stained before caning is begun. Box fuming
will not permanently color cane. Oil stains make no appreciable
impression if rubbed off at once. But water, acid, and alcohol
stains produce decided colors. If the worker desires to color the
cane approximately the same shade as the article, the caning may
be done on the white wood and the entire article stained at the one
operation. Cane may be shellacked or varnished or left natural,
as desired.

Irregular Areas. — Fig. 9 shows a close view of the back of the
chair illustrated in Fig. 7. This is a typical example of an irregular-
shaped area for caning. The principles of weaving remain the

18 SEAT WEAVING

same in areas of any shape, yet each requires slightly different treat-
ment. Each has its individual problem. It is necessary to skip
some holes altogether. This is never done in rectangular shapes.

FIG. 9. BACK OF CHAIR SHOWING ODDLY SHAPED AREAS.

A close inspection of the photograph will reveal many skipped holes.
This is necessary to keep parallel strands equidistant, and diagonals
straight.

To clearly understand how the holes are located on a wing of

CANING SUGGESTIONS

FIG. 10. METHOD OF LOCATING HOLES OX WING OF CHAIR.

this chair refer to Fig. 10. The left upright and lower rails are
at right angles to each other. The upper rail is curved and the
right upright slanted. Measurements are begun at the lower left
hand corner and proper distances spaced on the left upright. With
the arm of a try -square against this upright, points are marked on

20

SEAT WEAVING

the opposite upright in line with those on the former. This opera-
tion is repeated on the lower rail and the upper curved one. Strands
of cane will then obviously run parallel. Inasmuch as there are

FIG. 11. CLOSE VIEW OF WING.

five holes in the base and eight in the top it is necessary that three
vertical strands be run into the slanting upright in any holes which
will permit the strands to run parallel to each other. The photo-
graph of the caned wing, shown in Fig. 11, should make very clear
the foregoing explanation. Experience with several unusual shapes

CANING SUGGESTIONS

21

is necessary before the weaver feels confident of readily caning any
area of odd shape.

In weaving the diagonals it is frequently necessary to run several
in one hole in order to keep the canes as straight as possible. Just
when this should be done can only be determined by the worker.
A diagonal should never be permitted to swing to any great degree
out of a straight line. A close observation of the photograph of

FIG. 12. CASING OF FIVE STEPS.

the wing will reveal many diagonal canes in one hole, and several
holes skipped entirely.

Five-Step Caning. — Cane weaving of five steps is not common.
It may be done in many cases where it will not be subject to hard
wear. It is neat in appearance and is much simpler than seven-
step caning. The presumption should not be made that this weave
will in any way supplant the regular weave, but in instances where
decoration is the object, and not service particularly, this weave
will prove sufficient and effective.

Fig. 12 illustrates a frame caned with the five steps. The dis-
tance between holes was purposely made greater than usual, to
show the weave clearly. The first strands are strung in, in the
same manner as described in the seven steps. The second series of

22 SEAT WEAVING

strands are interwoven with the first. The over and under weave
is used. Each alternate row of each series is either over or under.
The first diagonal strands run over the preceding two series. They
are not woven as in seven-step caning. The second diagonal strands
run over the first diagonals and under the intersection of the other
strands, including every alternate first diagonal. This resolves
itself into simple over and under weaving. Note that but one
strand of a diagonal enters a corner hole. This is not true of seven-

FIG. 13. DAVENPORT WITH CANED PANELS.

step caning, as elsewhere indicated. It is advisable to utilize a
wider cane in the first two steps, than is used in the subsequent ones.

The Design Element. — Caning is not a fad. Cane was com-
monly used in Carolean furniture in England about 1660, and has
continued in use for seating purposes thru the various subsequent
periods. The application of cane as used today on French furniture,
as in panels, is historically wrong. However there can be no valid
objection to its use in panels if no attempt is made to name it a
true period style. Also it must be conceded that period furniture
was not always well designed, and there can be no well sustained
objection to the use of cane in panels, provided it is in keeping
structurally and decoratively with the particular piece of furniture.

CANING SUGGESTIONS 23

The introduction of cane at first was undoubtedly brought about
by a desire for something light, substantial and serviceable, and it
blended well with the oak of the period. Cane is much used on
modern furniture, and without doubt it adds to the beauty of the
given pieces. In many cases the decoration is overdone and instead
of improving the article the cane in reality detracts. Properly used,

FIG. 14. ROCKER WITH CANED SIDES. FIG. 15. BOOK SHELVES WITH CANED

PANELS.

it enriches by breaking up flat uninteresting areas, and lightening
the appearance of otherwise massive, cumbersome articles.

Under proper correlation with wood in school shops it promotes
an appreciation of constructive design in which the element of
beauty is a prime consideration. It is a practical medium in which
the aspect of design as an element of utility is paramount. It has
distinct commercial value, for the boys who have had training in
the shops may do chair seating outside and earn considerable money.
By such work they come to see a distinct relation between the com-
mercial field and their shop experiences. This is a point of view
which is very desirable in present-day industrial education.

SEAT WEAVING

Figs. 13, 14, 15, and 17 show pieces of furniture made in manual
training shops by eighth grade boys. These pieces comprise a group,
with the addition of the leg rest shown in Fig. 2 for a library or
living room. The cane in each instance adds materially to the
artistic effect of the problems ; they have tone. The cane forms
pleasing groups well related to the wood mass. The cane is natural,
the wood fumed and finished flat. The two tones of color are in
perfect harmony.

FIG. 16. LIBRARY TABLE.

FIG. 17. TABLE. SIDES CANED.

Fig. 1 6 shows a library table of oak constructed by an eighth
grade boy. The lines are very pleasing and the long vertical
caned panel adds a distinct note to the structure even tho purely
decorative.

Many modifications of the standard weave in caning are in
vogue, but are more or less fads. A "rotary" weave is rather preva-
lent on certain types of furniture, as is what may be termed the
"spider-web" weave. These are mentioned merely to suggest that
caning is subject to variation. However, the standard weave, of
seven steps, will not be supplanted to any appreciable degree, for it
adapts itself to almost all types of furniture both decoratively and
structurallv.

CANING SUGGESTIONS

25

It must not be presumed that the method described in Chapter
I is the only one which may be employed in weaving this standard
weave. There are several methods of weaving which arrive at the
same ultimate result, but the one described is the simplest, and the
most direct, and withal the one best adapted to general use, par-
ticularly to school-shop pupils.

SUGGESTIVE PROJECTS.

CHAPTER III
RESEATING A CHAIR; HAND CANING

In many localities it is impossible to find a professional to reseat
caned chairs either by hand or with cane webbing. Many chairs
in good repair and worthy are relegated to the attic because of
broken or sunken seats. Upholsterers generally will not be troubled
with such jobs of caning for the work does not pay unless there
is an amount sufficient to keep them steadily employed. Usually
they are not adept enough to do such odd jobs as may come to them,
even tho willing to do the work, within a time consistent with
sufficient money returns.

Chairs of ordinary size may be caned for a minimum of $i and
a maximum of $2. If the holes have previously been bored, much
labor is thus avoided, and the charge is naturally made less. The
professional cane wTeaver has various ways by which he determines
the cost for recaning a given seat. Perhaps the most common
method employed is that of charging so much per hole. This is
from I to 2 cents. The difficulty in handling very fine cane is also
a factor in deciding what to charge. Usually a casual looking over
of the chair by the expert is all that is necessary to fix a price. No
charge of less than $i on a hand caned seat will sufficiently re-
munerate the worker. Fig. 18 shows a hank of cane and rolls of
machine woven cane.

Any boy who has had instruction and sufficient experience in
caning in the manual training shop may readily undertake jobs of
caning. The boy who will investigate will find that he may work
up a sizeable trade in chair seating in a short time. In fact several
boys will not overcrowd a given field. Such work will pay the
amateur well. He does not, nor cannot expect professional wages.
It is of considerable value from the pupil's standpoint alone, that
is, this correlation with his manual school activities. The amount

RESEATING A CHAIR; HAND CANING

27

of pay initially is not the main question ; it is the educational value
derived. He would undoubtedly find willing help at his shop at
any time a job of peculiar treatment presented itself.

The Process. — Manv chairs which the owners would wish hand

FIG. 18. HANK OF CANE AND ROLLS OF MACHINE WOVEN CANE.

caned have no holes bored for the work. They previously held
machine woven cane. Fig. 19 shows a sketch of a chair bottom
of ordinary or standard shape. The area is irregular. The sketch
shows the method of determining the location for the holes.

As stated in the discussion of the seven steps in caning, the holes
are invariably ^2 in. from the inner edges of the rails. In this
instance the line from which the holes for the front rail are located
is parallel with the front rail ; it is coincident with the line on which
the holes are bored. The line on the back rail must be parallel
with it; the line runs thru the center of the center hole. The
lines on the side rails are parallel to each other and at right angles

28 SEAT WEAVING

to the first two. These four lines are shown as dash lines on the
drawing. Their function is simply to determine the location for
the holes to be bored on the lines y2 in. from the inner edges of the
rails. Those lines are shown in the sketch as full lines.

FIG. 19. SKETCH OF CHAIR SEAT OF ODD SHAPE, SHOWING METHOD OF
FINDING LOCATION OF HOLES.

When the working lines are determined, the centers of the front
and back lines are located. The lines connecting corresponding
holes on the front and back rails must be parallel to the line con-
necting the center holes on these rails. This rule applies to the
locating of the holes on the side rails. It also applies to any seat
of odd shape. The distance between holes will vary somewhat at

RESEATING A CHAIR; HAND CANING 29

different places on the seat frame. This is the result of working
to rule, and is necessary to keep strands equidistant and parallel.
At times respacing at several places will be necessary. When it is,
simply redivide into as nearly the given dimensions as possible.

After the holes have been bored and cleaned the seat is ready
for caning. Start at the center hole in the hack. Pull the cane up

FIG. 20.

FIRST STEP HALF COM-
PLETED.

FIG. 21. FIRST STEP COMPLETED.
SECOXD BEGUN.

thru this hole and across the frame, and down the center hole in
the front. Work both ways on the frame. Fig. 19 shows a cane
started in this manner. It is best that the amateur work from the
center, both ways. He mav begin otherwise when he understands
the work better. The caning operations on the seat to be shown
are the same as those described in the seven steps in caning. They
never vary. The only new thing involved here is the shape of the
seat. Fig. 20 is a photograph of a chair seat of an odd shape, an
irregular ellipse. It shows the first step half completed. Note here
that the last strand skips two holes, one at the front and one at
the back. This is necessary to keep strands as nearly the same
distance apart as possible. Fig. 21 shows the first step completed

30 SEAT WEAVING

and the second partially so. It is not necessary to start at the
center with this series, altho it is advisable with the beginner. Note
that two holes have been skipped here, as in the first step. Fig. 22
shows the second step finished and the third under way. These
strands run directly over those of the first series. Pegs are always

FIG. 22. THE SECOND STEP FINISHED FIG. 23. THE THIRD STEP COMPLETED
AND THE THIRD UNDER WAY. AND THE FOURTH UNDER WAY.

THE CANING NEEDLE IN TSE.

used to keep strands taut. Their proper use has been explained.
Fig. 23 shows the third step completed and the fourth under way.
This shows the actual weaving, and the method of using the needle.
It has been pushed thru in the manner previously described ; and is
shown threaded, ready to be pulled back, thus making the weave.
The needle may not be used, but will do the work rapidly. Hand-
work alone here is tedious. Fig. 24 shows the diagonal weave
under way. In Fig. 25 this weave is completed and the second
diagonal started. Fig. 26 shows the method of fastening the
binder. This has been described.

The first three series of strands should not be pulled very tight,

RESEATING A CHAIR; HAND CANING

31

otherwise the final weaving will prove difficult. The finished seat,
when dry, should ring when struck sharply with the fingers.

The method of tying cane, preventing twists, etc., has been ex-
plained. Reference should be made to these points, when anything
is not fully understood in this discussion of chair seating.

FIG. 24. THE FIRST DIAGONAL WEAVE
UNDERWAY. THE FIFTH STEP.

FIG. 25. FIRST DIAGONAL COMPLETED

AND THE SECOND BEGUN. THE

SIXTH STEP.

Note that many holes have been skipped in each series, especially
in the last two, and also that more than one diagonal of a given
series enters the same hole. In every case it will enter that hole
which leaves its course in as straight a line as possible. In rect-
angular areas it is never necessary to run two diagonals into the
same hole, except at the corners. This applies to two diagonals of
the same series.

Refinishing. — The refinishing of a chair is a distinct problem,
and one which the cane weaver should understand. He should
acquire ability for finishing along with skill in caning, inasmuch
as a chaif which needs a new seat invariably is in need of refinish-

32

SEAT WEAVING

ing. The method is as follows: Remove the cane from the seat.
If the finish is in fair condition merely wash the chair with warm
water and soap. When dry sand the surface somewhat, wipe clean,
and follow with a coat of good varnish. In forty-eight hours rub
with pumice stone and oil, and follow with an application of furni-
ture polish, well rubbed. A good polish which may be made in
school shops is composed of two parts of raw oil, two parts of

turpentine, one part vinegar, and
a very small amount of alcohol.
Boiled oil may be used in the ab-
sence of the raw product. Shake
the container constantly when
using, for the parts are almost all
merely held in suspension.

Should the chair be in poor con-
dition, remove all varnish with
any good varnish remover found
on the market. Apply as directed
with a stiff brush, running the so-
lution well into all crevices. Later
rub off the softened finish with
excelsior or burlap. A scraper,
an old plane bit, or a rather dull
chisel will prove effective in cor-
ners and recesses. Apply a second coat of remover if conditions
warrant it and clean again, then when the surfaces are dry, sand
until clean and smooth. Follow with a coat of oil stain of the color
desired; then two coats of varnish, allowing each coat to dry 48
hours. Sand the first coat lightly, and rub the second with pumice
stone and oil. A filler is not generally necessary in refinishing.
The ground coat may be of shellac instead of varnish if the worker
prefers it. The chair need not be stained if it was finished natural
originally.

In caning the seat special care must be exercised to avoid mar-

FIG. 26. METHOD OF FASTENING

BINDER. THE SEVENTH AND

LAST STEP.

RESEATING A CHAIR; HAND CANING 33

ring the varnished frame. If the needle is used in the fourth step
the frame needs protection from it. Pieces of Bristol or card board
may be placed under the needle on either side of the frame. The
needle is bound to mar the surface of the frame if this precaution
is not taken.

In many instances it is policy to cane the seat after the old finish
has been removed ; this to avoid any possibility of marring the seat
frame later. However, it is better practice to refinish the chair
first, and cane the seat last.

SUGGESTIVE PROJECTS.

CHAPTER IV
RESEATING A CHAIR; CANE WEBBING

The seating of chairs with machine woven cane is a much simpler
process than that of hand caning them. Under similar conditions
less time and skill are required on areas of like dimensions. Machine
woven cane, as its name implies, is a manufactured product made
on power looms or machines. Commercially it is sold under the
name of cane webbing. It is obtainable in widths ranging from
8 in., increasing by 2 in., to 18 in., and in rolls of indefinite lengths.
It may be procured in meshes of varying fineness, utilizing cane of
various sizes. In specifying open woven cane it is necessary that
the purchaser indicate his wants in essentially this way: Ten feet
medium open woven cane webbing, of No. i fine cane, 12 in. wide.
A roll of such cane has been referred to in Fig. 18.

Cane webbing may also be purchased in close woven, in both the
plain and diagonal weaves. The specifications for purchasing are
identical with the open woven except that the term close woven
is specified together with the character of weave. Fig. 27 shows
cane webbing approximately half size, in open and close woven
meshes.

As in hand caning, any boy with proper inclination who has had
the necessary experience in the shops, may avail himself of the
opportunities for seating chairs in his community. The educational
and pecuniary advantages are identical to those mentioned in rela-
tion to hand caning. The relative ease with which he may acquire
skill in handling the materials precludes satisfactory workmanship
for prospective customers.

The cost of jobs is readily determined, for the amount and cost
of webbing is easily ascertained, and experience soon determines
the length of time required. Cane webbing costs approximately
34

RESEATING A CHAIR; CANE WEBBING

36

as follows: For 12 in. widths, 21 cents; 14 in. widths, 26 cents;
16 in. widths, 30 cents; and 18 in. widths, 38 cents. This cost
applies to open woven and is the charge per running foot. Close
woven is sold by the square foot at about 30 cents, regardless of
width. It is possible to procure special wide widths, but these are
not generally found on the open market.

For example, a chair seat which requires a 12 in. square of open

TIG. 27. OPEN AND CLOSE WOVEN
CANE.

FIG. 28. THE SEAT FRAME WITH
WEBBIXG AND TOOLS.

woven webbing, and which has the groove made, may be reseated
for 50 cents. The entire job could be finished in about half an
hour. This may be made less if several chairs are to be reseated
at a time. However, it may be termed the minimum charge con-
sistent with fair money returns. There are instances when the
seat frame requires grooving, and inasmuch as running it in by
hand is a laborious and tedious process the worker must of necessity
carefully estimate time before he determines upon charge.

The Process. — The following may be termed the steps in insert-
ing cane webbing. No special difficulty should be encountered in
properly seating the frame at the first attempt.

Step i. Fig. 28 shows a commercial chair seat with groove cut by
a router after it has been assembled. There are no angles on the
seat. The groove is standard, with dimensions % in. deep and
3/1 6 in. wide. This groove may be cut by hand with a universal

36

SEAT WEAVING

plane and chisel before permanently assembling the parts. In fact
this is a necessary procedure in grade schools and other schools
where special machine tools are unavailable. The necessary tools
for pressing in the webbing lie near the frame, Fig. 28. These
are a small mallet, a chisel, and several hard wood wedges. The
wedges are made in several widths, to enable them to enter the

FIG. 29. INSERTING THE CANE
WEBBING.

FIG. 30. TRIMMING THE EDGITS.

groove at the abrupt curves, are 4 in. long of l/\. in. stock, tapered
to Y% in. on the faces.

Step 2. The cane should be boiled in water for a minute or so,
or allowed to soak for several minutes in warm water until thoroly
pliable. Then lay it on the frame and cut it to the shape of the
seat, allowing half an inch excess around the entire piece. A
pattern of card or bristol board will prove of material assistance to
the amateur as well as the expert. The front line or edge of the
pattern must run parallel with the horizontal or vertical strands of
cane. Pull out all weavers at the edges of the piece of cane where
they run over and parallel with the groove. Then lay the webbing
over the frame, and see that the weavers run parallel with the
front of the frame. With wedge and mallet as illustrated in Fig.
29 begin at the front and force the webbing into the groove. Insert
on the opposite side next, then the other two sides in order. The
curves may be done last.

RESEATING A CHAIR; CANE WEBBING

I! 7

FIG. 31. INSERTING THE SPLJNE.

Step 3. The edges of the webbing will project up beyond the
groove. These are cut off as illustrated in Fig. 30 by means of a
mallet and chisel at the outer edge in the bottom of the groove.
Run either liquid or hot glue into
the groove. An oil-can with large
holed nozzle is excellent for this
purpose. The liquid glue should
be heated if used in this way so it
may flow easily. This glue is to
be recommended for the amateur
in that no great haste is required
as in the case with hot glue. A
small stiff round brush will serve
the purpose very well in absence
of the oiler.

Step 4. Fig. 3 1 shows the method of inserting the spline. Splines
may be had either of wood or reed, are curved on the upper edge
and wedge shape in cross-section. They are standard in width and
thickness and will fit a groove of the size indicated in Step i. Fig.

32 is a freehand sketch of a spline,
showing particularly its shape in
cross-section. Wood splines, pref-
erably of hickory, may be pur-
chased in 5 ft. lengths, and reed
splines in lengths of 8 or 10 ft.
Both hickory and reed are recom-
mended because of their pliability
and ease in handling. Steam or soak them in hot water until thoro-
ly pliable; then insert in the groove as illustrated. Note that the
joint is made at the rear of the seat. The mallet used is of rawhide
and will not mar the spline. A wooden mallet of small size is a
satisfactory tool. Cut off the extra length of spline with the chisel,
force the spline down nearly flush with the frame with mallet and
wedge, sponge off the excess glue from the surface, and allow the
webbing to dry.

FIG. 32. SKETCH OF A PORTION OF
A SPLINE.

SEAT WEAVING

Step $. The finished seat is shown in Fig. 33. As the cane webb-
ing dries it becomes taut, and irregularities of the surface, if not too
pronounced, will disappear entirely. Therefore, the worker need

FIG. 33. THE FINISHED SEAT.

not consider them primarily. Light sanding of the cane when
thoroly dry will eliminate the small hairlike projections on the
surface. Singeing the surface with a blow torch or gas flame will
do the work more effectively, but great
care must be exercised to avoid burn-
ing the webbing itself. The singeing
must be done rapidly and the flame
not be permitted to remain at one spot
more than an instant. Dampen the
surface to minimize the danger of
burning.

The chair shown in Fig. 34 was
made by an eighth grade boy. The
slip seat is upholstered, and a panel of
cane webbing utilized on the back. In
instances of this character where the
area is rectangular, splines are cut,
mitered, and fitted previous to insert-
ing the wrebbing. The splines are
used dry. Manufacturers, in instances
where the seat area is all curved, gen-

FIG. 34.

CHAIR WITH CANED
PANEL.

RESEATING A CHAIR; CANE WEBBING 39

FIG. 35. FRAME ILLUSTRATING STEPS IN INSERTING WOVEN CANE.

40 SEAT WEAVING

erally fit the pliable spline, allow it to dry, and then insert it with
the webbing. This assures tight joints. This procedure is not
recommended for the ordinary shops for the simple reason that the
shrinkage is not appreciable.

The frame illustrated in Fig. 35 is purely supplementary to the
steps, but as with the Seven Steps in Caning, it should be used in
demonstrating the processes to classes. It materially assists in mak-
ing the processes clear to the students, previous to allowing work
on their projects, and assures a general understanding, at least, of
proper procedure. The different panels are lettered for convenience
and need no elaborate explanation :

A is the open frame with grooves cut for the webbing.

B is the webbing inserted with ragged edges exposed, ready for
cutting.

C is the webbing with edges properly trimmed and a spline in-
serted.

D is the completed panel.

Inserts of cane webbing may be utilized on pieces of furniture
other than seats. These inserts could be used on every article illus-
trated in Chapters I and II, with similar pleasing effects, and with
less labor. However, there is an obvious element in hand caning
which naturally and logically gives it precedence over the inserted
cane.

CHAPTER V

RUSH SEATING

Rush seating, employing either genuine rush or substitutes, may
be done to good advantage and with excellent results in manual
training shops. No equipment is needed to maintain such work.
The addition of a woven seat to a chair or stool constructed in the
shops will necessarily employ a new, interesting medium in con-
junction with woodwork; and materially increase the pupils' knowl-
edge of materials and possible combinations. And, as with caning,
the resultant interest in the work at hand more than justifies its
introduction in manual trainig shops. Rush seating employs a very
simple weave. Different materials employed in weaving naturally
require different degrees of skill, and the difficulties encountered
are those resulting from handling materials and not because of the
complexity of the weave. One may very readily undertake the
rushing of ordinary seat frames after a study of printed directions
and illustrations. It should be understood at the outset that, in
discussing rush seating, materials other than genuine rush are in-
cluded in the term.

Historical. — In the British Museum in London is a seat of
curious shape of Egyptian manufacture, which, it is estimated, was
made previous to 4000 B. C. A small amount of rush still clings to
the seat frame. The relative date of the construction and weaving
of the chair seat would indicate that rush seating is by no means a
modern art, altho at present rush is extensively employed in fur-
niture.

The use of rush in England dates no earlier than 1720. Several

types of chairs were made there between that date and 1870. In

France rush was used extensively in the seating of furniture of

Normandy and Brittany about 1750. Flanders produced rush

41

SEAT WEAVING

seated chairs at an early date, and many were constructed in this
country in early colonial days, prior to 1776, as well as later. Such
chairs were undoubtedly patterned after those brought over .from
Holland, France, and England to the early settlements in America

both before and after the Revo-
lutionary War.

In early times rush always
served a function in the seats
of chairs and stools, and was
very seldom if ever used on the
better class of furniture. The
use of cane or rush on furni-
ture for decorative purposes
only is distinctly a modern
idea. Utility rather than beau-
ty prompted the introduction
of seats of rush.

Modern furniture of excel-
lent design and workmanship
employs rush seats. These are
either woven over a separate

FIG. 36. ADAPTATION OF LADDER BACK
CHAIR.

frame and inserted or are an
integral part of the chair, be-
ing woven over the seat rails

of the chair itself. Fig. 36 shows a modern adaptation of a ladder
back chair with rush seat. The rush on this chair is woven over
the rails. Fig. 37 shows a flat view of the seat.

Rush. — Rush is the name applied to many fistular, stemlike
plants of similar or like growth. Properly, rush belongs to the sedge
family. The different species vary greatly in appearance; some are
low and slender, some are tall and leafless, and some are broad
leaved. They are found in wet places thruout the northern hemi-
sphere, along banks of sluggish streams, and in lowlands and marsh-

RUSH SEATING 43

es. The great bulrush is common and familiar, while the chair-
maker's rush is not as well known. The plants most commonly
known as rush are called by the names of flag and cattail. In fact,
flag and cattail are very generally used for rush seating. The
technical names of the different species of rush are not pertinent or
desirable here.

Other Materials. — Materials other than rush may be used for

FIG. 37. SEAT OF LADDER BACK CHAIR.

rush seating, as has been stated. Rush is rather hard to manage in
that no appreciable length may be handled because of the shortness
of the leaf. Twisting is necessary. Fiber, or similar materials, is
to be recommended for shop use because a great length is procur-
able, and the twist is made. It is made of machine-twisted paper,
and comes in long indefinite lengths. It is tough, strong, and ser-
viceable, and procurable in spools of about one hundred pounds
each. Fig. 38 shows such a spool together with a bundle of rush.
It is manufactured with or without a flexible wire center and costs

41

SEAT WEAVING

from 10 to 15 cents a pound. It may be had in several colors and
sizes.

Raffia is well known thru its general use in basketry and allied
work. In rush seating it has no conspicuous place, altho it may be
utilized to great advantage. Raffia is the leaf of a certain palm,
cut in narrow widths and varying in length from 2 to 5 feet. It is

bought in hanks by the pound,
bleached or unbleached, and in
colors. The natural unbleached
raffia costs about 25 cents per
pound ; colored about 75 cents.
The hanks should not be untied,
but as strands are needed they
should be pulled out from the
head end of the hank. If im-
properly handled, raffia will be-
come badly tangled.

Corn husks, taken from close to
the ear, may be used, particularly
for seating chairs of toy furniture.
The husks near the ear are not
as coarse and brittle as those out-
side. The shortness of the husks
precludes their general use, altho
they produce an excellent seat
when properly woven.

The materials mentioned by no means exhaust the list of avail-
able mediums for rush seating, but will give considerable and suffi-
cient variety for shopwork. As the weaver comes to appreciate the
limits and advantages of the various mediums for certain grade
work, he may utilize local plants and grasses suitable for such work.
Preparation of Materials. — Rush — and in the term are in-
cluded cattail and flag — is common to almost any locality in our
northern states. It should be gathered when full grown and still

FIG. 38. SPOOL OF FIBEK AM)
BUNDLE OF RUSH.

RUSH SEATING 45

green. It is ready for cutting when the tips of the leaves begin to
turn brown. This is usually about the middle of August. The
leaves are tied in loose bundles for convenience in handling, and
dried in the shade, preferably a darkened room. They should re-
main here until thoroly dry. Before using, soak the rush about
ten hours in water. Less time is required if warm water is used.
When it is soft and pliable it is ready for weaving.

B

FIG. 39. ISOMETRIC DRAWING OF FRAME FOR RUSH SEATING.

Before weaving, the butt ends of the leaves are cut off about a
foot from the base. These are too coarse and stiff to weave proper-
ly. One leaf may be used or two leaves may be twisted together to
make a strand. Three leaves make a coarse strand, two a medium,
and one a fine strand. A long, tight twist is necessary to produce
an even, smooth strand. The twisting is always done in one direc-
tion. One leaf is recommended for beginners in rush seating, for
adding to one is much simpler than adding to several. The under
side of the seat need not be as smooth and as wrell woven as the top.
In fact, twisting need not be done underneath at all unless the
individual worker so desires.

Raffia is easy to manipulate because of its pliability, even when
dry. Several lengths will need to be twisted together to produce a

SEAT WEAVING

strand of sufficient size. It requires little soaking to make it ready
for use. Raffia produces an even, smooth surface of pleasing ap-
pearance, and is very desirable in a seat.

Fiber may be woven as it comes from the spool. However, it is
better to dampen it by plunging a quantity in water and removing

FIG. 40. METHOD OF WEAVING THE FIRST STRAND.

at once. When it dries after weaving, a slight shrinkage results,
thereby making a tauter seat than could be woven with dry strands.
Inasmuch as the fiber is paper, it cannot be soaked in water.

The Weaving Process. — With the frame ready and rush in
proper condition the weaving may be started. Fig. 39 shows an
isometric drawing on which corners are lettered and the rails
numbered in order. Fig. 40 shows another drawing on which the
corners and rails are similarly lettered and numbered, showing
graphically the method of weaving the first strand. The arrows
indicate the direction of weave. The operation is practically com-
plete once around the frame. Reference may be made to either
drawing in the following detailed directions for weaving.

Start arbitrarily at any corner — in this case, A. A strand of
rush tightly twisted is laid over rail I next to the cap with its short
end turned down. The beginner may find it advantageous to tack

RUSH SEATING 47

the end in place. Draw the strand over the edge and bottom of
rail I and up at the inner corner, then over the top and edge of rail
2. This binds the loose end in place if it has not been previously
tacked. Pull the strand directly across the frame opening to the
top of rail 3 at corner B. Draw it over the edge of the same rail
and under, then up at the inner corner and over the top and edge
of rail I. Pull directly across the frame opening to the top of rail
4 at corner C. The operations at corners C and D are identical to

FIG. 41. STICK FOR STUFFING INTERIOR OF SEATS.

those at A and B, and these repeat themselves indefinitely at each
corner, or until the seat is completed. This applies to square seats
only. The end of the last strand may be secured with a tack under
the proper rail, or twisted around a strand underneath the seat.

The strand is twisted as the weaving progresses. This may be
done with the palm of the hand and thigh, in much the same man-
ner as a shoemaker waxes his thread. If one leaf of rush is used to
make the strand, new leaves are added by tying the two ends in a
square knot at a corner, or wherever such joining will not show on
the finished seat. When more than one piece of rush is used for a
strand the pieces should be of uneven lengths initially. One leaf or
piece at a time is then added. The upper or top end of the leaf is
used to begin the seating and each leaf added is attached at its top
end.

Some expert rush seaters do not tie knots in making strands, but
add leaves by twisting the end of the preceding leaf about the added
one, "like the color on a barber pole," as one old rush weaver re-
marked. Adding by twisting only is difficult, and requires great
patience and dextrous handling of the material. In fact rush
should be used by the more skilful boys only. Others may use the
excellent substitute, fiber.

48

SEAT WEAVING

Care must be exercised to keep the strands from overlapping im-
properly at the corners. The strands should fit snugly where they
go over the rails. To assure this, tap them sharply with a mallet
used over a block of soft wood. This may be done at frequent
intervals or when several strands have been woven over each rail.

FIG. 42. ^lETHOU OF

Uniform tension on the strand is desirable and this should be tight.
As the work progresses the interior between the upper and lower
rows of strands is stuffed. This is done with the same material as
that used in the weaving. The butt ends of rush are used to stuff
the seat of rush ; raffia is used to stuff a raffia seat ; craft paper to
stuff a fiber seat ; and so on. The packing should be done in a thoro
manner, for it builds up the seat and prevents its breaking down at
the inner edges of the rails, and sagging with continued use. A
slightly curved hardwood stick about 12 in. long may be used to
advantage to do this work. Fig. 41 shows a sketch of such a stick.
It is 24 in. in diameter at one end and tapered to y2 in. by l/% in. at

RUSH SEATING 49

the other. Considerable force needs to be exerted in packing, and
caution used to avoid breaking strands.

Rectangular Seats. — As stated, in weaving a square seat the
initial process is repeated at all corners until all openings are filled.
In rectangular seats the spaces on the short rails will fill before

FIG. 43. METHOD OF FILLING IX CENTER.

those on the long rails. Weaving around corners is then manifestly
impossible. Fig. 42 shows a partly woven seat with the short rails
filled, and the process of filling up the remaining area under way.
The method is this : Go over and under a long rail, across half the
frame opening and up thru, then across the remaining distance, and
over and under the other long rail. Repeat until the seat is com-
pleted. Fig 43 is a sketch of a partly woven seat, illustrating the
method of filling in the center just described. It supplements the
photograph and makes the method clearer.

It should be noted that the strands in crossing at the center must
be compressed one-half of their diameters. They will need to be
tapped sharph7 with a small mallet or hammer to produce proper
crowding. Fig. 44 shows a stool seat of fiber woven by an eighth
grade boy. Fig. 45 shows the complete stool. The seat is woven

50 SEAT WEAVING

over a separate frame and inserted. Fig. 46 is a child's chair of
oak, with a seat of fiber woven over the rails of the chair.

Irregular Seats. — The usual or standard shape of chair seat is
like the one illustrated in the drawing, Fig. 47. The front rail is

FIG. 44. COMPLETED TOP OF FIBER.

longer than the back, and the side rails are equal in length. Seats
of this shape are rather difficult to weave because special treatment
is necessary to fill up portions of certain rails.

With reference made to the drawing, the method employed in
locating lines for rushing, and for rushing such a seat is this : With
the beam of a square laid against rail 4 with its corner against the
cap at corner A, scribe a pencil line across rail 2. Similarly, mark
the same rail using the square against rail 4 at corner D. Stated in
other words, these lines may be obtained by determining the differ-
ence in length between the front and back rails, and laying off one-

RUSH SEATING 51

half this difference from each corner on the front rail. This dis-
tance is indicated by the brackets in the drawing.

Now tie with a string as many strands of rush as will be needed
to fill in this difference between front and back rails. Fasten them
underneath the rail at corner A. Then use one strand, twisted,

FIG. 45

and weave around corners B and

C and fasten under the rail at FIG" 46' CHILD'S CHAIR WITH

FIBER SKAT.

corner D. The weaving is iden-
tical to that described in square seats. Weave in each strand in
the bundle at the same corners and tie under the rail at corner D ;
or until the spaces marked off on the front rail are filled. It may
be necessary to add to or to remove strands from the bundle if
calculations as to number of strands necessary were inaccurate.
Tie all loose ends together at corner D, fasten securely and cut off
all extra lengths.

Start now as in beginning a weave on a square seat, weaving
around all corners in the regular way. The first strand around will
effectively bind the bundles of ends at corners A and D.

Suggestions. — In using paper fiber or similar materials wrhich
come in long lengths, a strand 20 or 25 ft. in length may be used

52

SEAT WEAVING

at one time in weaving. For convenience in handling it should be
formed in a loop and held together with a strong rubber band.
The strand may be unlooped a little at a time as the weaving pro-
gresses. In using rush, raffia, and like materials, the strand is made

a

C

FIG. 47. METHOD OF STARTING WEAVE OX SEAT OF IRREGULAR SHAPE.

as the weaver works, so at no time is there a strand exceeding 5 ft.
or so in length to handle. No special expedient is therefore needed.

Raffia, fiber, etc., may be purchased from supply houses and in
many cases direct from the manufacturers. Rush may be gathered
in many communities by an energetic instructor and pupils, and
properly cured. In fact, gathering the raw material and preparing
it for use is desirable in many ways, and is to be encouraged. Or-
dinarily rush may be obtained from manufacturers of rush seats.
It costs 15 cents per pound, dry.

Fig. 48 is a working drawing of a stool or seat. The constructed
problem would appear very similar to the one shown in Fig. 45.
The seat frame is fastened to the base with concealed screws. The
upper caps are temporarily fastened until the weaving is completed,

RUSH SEATING

<M

~tt

II-

1

-7 — ->

1 1
1 1

II

10 / 1

-1 I ill

1

1 1

«-?-».

if,

...1

• " ;

^

S UUUL

1 _JI

4*1

I

i

^

1

i

h

J

"T

VO

D

i

r\J

1 1

a .

i i

i i

LJ

^-

1

^o~

_L

.1' .

nr

FIG. 48. WORKIXG DKAWIN(i OF A STOOL FOR RUSHING.

54

SEAT WEAVING

when they are removed and the frame fastened to the base as indi-
cated. The caps are then replaced permanently. Generally speak-
ing, for initial work in rush seating it is advisable to weave over a
separate frame. Such a frame is conveniently handled, and better
work will result.

Finish. — Some agent to preserve a rush seat is necessary. Rush
should be coated with equal parts of oil and turpentine, followed
by two coats of tough, elastic varnish. The necessary time should
elapse between coats. Some manufacturers do not use oil, and apply
varnish only. Raffia and husk seats should be treated as rush.
Fiber is varnished only. A brittle varnish is to be avoided, for it
will chip off with a little use, and a seat is subject to hard wear.

SUGGESTIVE PROJECTS.

CHAPTER VI
REED AND SPLINT WEAVING

Reeds which are used extensively for basket-making and weaving
in general are procured from the species of palm described in Chap-
ter I. These reeds should not be confused with the term reed
applied to several distinct species of large water loving grasses.
Such reeds are usually designated under the name of grasses. There
are a thousand species of palm distributed over the tropical regions
of the entire world, but only a few are native in the United States,
and these are of no distinct commercial value. The rattan or cane
palms of India and the Malay Islands grow to an unusual height,
and are imported into this country in great quantities. These rat-
tans and the trailing palm of the species Calamus have as main
export centers Singapore and Calcutta. These palms are stripped
of leaves and bark and split into round and flat strips of different
diameters and widths. The outer bark, when stripped into proper
sizes, is known as chair cane; the entire palm, with leaves removed,
is commercially known as rattan ; and the flat reeds are frequently
sold as flat rattan and pith cane. Inasmuch as these flat and round
strips, split from the palm plant and exported under the name of
rattan are called reeds, we shall refer to them under that name in
all discussions to follow. There are two qualities of reed on the
market sold under the names of China reed and German reed. The
former is inferior in quality and the latter is superior, being strong,
tough and durable. The Philippine Islands give promise of pro-
ducing a liberal supply of reed of good quality that is claimed to
equal the German product. The problem, however, is one of gath-
ering and marketing the product. The government has made a
partial survey of the rattan supply, and this justifies the belief that
the Islands will eventually compete with the world market.
55

56 SEAT WEAVING

Primitive Methods. — Briefly the primitive process of convert-
ing the rattan, or raw material, into cane and reeds, or the finished
product, is this: The rattan stems are thoroly dried or seasoned,
and the nodules are pared off with a peculiar native knife. Then the
rattan is sorted into sizes and selection made as to grade. The sort-
ing is based upon external color and diameter of the rattan. The
rattan is then immersed in water, and the stem is rubbed vigorously
with sand and cocoanut husks to remove dirt and foreign substances.
It is then bleached by means of sulphur fumes, either in the stem or
after the peel and core have been prepared.

The method of preparing the peel and core is this: The peel, or
outer covering, is removed with a heavy knife; it is then stripped to
selected thicknesses and widths by drawing it by hand thru two
knives set at required distances apart. This peel is commercially
called cane. The core is then stripped into as many strands as
necessary, depending upon the diameter of the cores required.
These are rounded by drawing them thru a sheet of tin or iron
perforated with holes of different diameters. The rounded cores
are called reeds.

Considerable rattan is still converted into the finished products
by hand processes thru these laborious stages. Machines have been
perfected which do practically the entire work. Particularly have
the Germans brought this industry to a perfected state. Still in
various sections of India, China, and the Philippines hand working
of rattan is a thriving industry; an industry seemingly peculiarly
adapted to the natives. The Philippine method of preparing the
raw material varies somewhat from the Chinese method in that the
natives do not bleach the rattan.

Reed may be procured in large or small hanks, in coils and in
bundles, with the cost determined by weight. Schools generally
will find it advantageous to buy it in small hanks, because of ease in
handling and for economic reasons. Round reeds are shown
three-fourths size in Fig. 49, from No. o to and including No. 7,
also winding, half-round and flat reeds. Winding reed is thin and

REED AND SPLINT WEAVING 57

slightly rounded on one surface. Half-round is as its name implies.
Flat reed may be obtained in several widths from *4 m- to Y* in.,
and if of good quality, one surface will show a decided bevel on the
edges and appear much smoother than the other. Thus the right
side is determined. There are many more sizes on the market than
are indicated in Fig. 49, but those shown should supply adequate, if

FIG. 49. SPECIMENS OF REEDS, THREE-FOURTHS OF ACTUAL SIZE.

not liberal variety for the ordinary school shop. The cost of reed
cannot be given with any degree of accuracy at present. The price
is determined by the quantity bought, and by the quality and size.
Under normal commercial conditions round reeds will cost from
30 cents to $i per pound for Nos. I to 8, and flat reed about 25
cents per pound.

Bleaching. — Reed is procurable either bleached or unbleached.
Ordinarily it is better to buy the bleached product. However, if-
the worker desires to bleach the reed, the method for small quanti-
ties is as follows : In a tub two-thirds full of water dissolve ten
pounds of chloride of lime. Immerse the reed in this solution,
weighting it down to insure covering it all, and let it stand about

58 SEAT WEAVING

4 hours. Remove it from the tub and wash thoroly in running
water. The best way to do this is to lay the reed on an inclined
surface and turn a forceful stream of water upon it. Chloride of
lime has a bad effect upon the hands in that it makes them sore and
tender, so care must be taken to properly rinse the reed. A little
tallow rubbed over the hands will materially offset the tendency to
tenderness, and generally keep them in good condition.

Staining. — Bleached reed takes stain much more readily and
evenly than does the natural or unbleached. It may be stained any
color with prepared stains, but ordinarily these leave the reed
muddy in appearance due primarily to the difficulty in brushing in
or wiping off the stain in the recesses which weaving leaves. Per-
haps the best agent for coloring reed, and at least a very desirable
one, especially after it has been woven, is naptha. The preparation
of the stain and the process of coloring is as follows: Obtain the
necessary amount and variety of colors ground in oil; mix the re-
quired colors with a little naptha ; then to determine the shade of
color test with a reed. Reed absorbs a given amount of color,
therefore the shade will prove out practically the same when tested
with a small quantity of naptha, as when tried out with a greater
amount. Add the required amount of naptha to the solution, avoid-
ing thinning too much ; otherwise the color produced will be "sickly"
in appearance. Five pounds of color to about 3 gallons of naptha
will prove about the right ratio. For instance, to obtain a rich nut
brown mix I pound of chrome yellow and 5 pounds of burnt umber
with a small amount of naptha. Stir until the colors are liquid,
then gradually add 4 gallons or so of naptha, and stir well. The
intensity of the brown may be varied by using more or less chrome
yellow.

Coiled hanks of reed may be immersed in the solution, immedi-
ately withdrawn and hung to drain dry above the receptacle, thus
permitting surplus stain to drain back into it. The stain may be
used repeatedly, and as it is very volatile it should be kept in a
tightly corked red can when not in use. It is also highly inflam-

REED AND SPLINT WEAVING 59

mable, and should be used in a room in which there is free circula-
tion of air. If colors have been mixed properly and thinned to the
right consistency, the reed will dry rapidly and the color will be
sharp and clear, free from muddy effects.

A woven article such as a basket or woven top footstool may be
dipped, or the color poured over and allowed to drip dry. In some
instances it is good policy to wipe surplus stain off lightly. Then,
in the case of the footstool or similar project, if the worker so
desires he may stain the wood a darker shade than the top with a
prepared stain. Reed is very effective without stain; many of the
stools shown herewith are left natural. Reed may be shellacked or
varnished. Because of its porosity it soils very easily unless some
finishing agent is used, and a good grade of elastic varnish is recom-
mended as a finish, especially when the woven article is subject to
severe use.

Other Materials. — Reed is not the only good medium adapted
to weaving, either in correlation with wood or when used alone.
On the stools illustrated several other materials have been used,
as inner hickory bark and Indian splints and fiber. Binding cane,
rope, and even willow may be utilized with success. Paper fiber
was discussed in detail in Chapter V and needs no elaboration.
Fig. 60 shows a stool partly woven with this serviceable material.
Sufficient to say that this fiber adapts itself admirably to almost
all work where reed is commonly employed, and in many instances
is, commercially, supplanting reed.

Inner hickory bark may be obtained of manufacturers of rustic
furniture either directly or indirectly. They may be obtained first
hand if hickory trees grow in the locality, thus enhancing the edu-
cational value of weaving. In the spring or early summer when
the sap is up and the bark slips easily, a hickory tree may be cut
down, and the rough outer bark shaved with a draw knife from
the top of the log the full length of the trunk, leaving a surface
from 8 in. to 10 in. wide. With a heavy knife split the inner bark
on either side of the shaved strip; then beginning at one end peel

60 SEAT WEAVING

back the inner bark the full length of the log This process may
be repeated until the log is stripped. The thickness of the inner
bark depends upon the size of the tree and the species. Manu-
facturers of hickory furniture claim that the pignut possesses a
thicker bark than any other species, the bark running from *4 in-
to Y<\ in. in thickness, and they accordingly use this tree in pref-

FIG. 50. SKETCH OF HAND STRIPPER AND GAGE.

erence to others when available. The rolls of thick inner bark are
allowed to dry for several weeks. Then they are placed in water,
to remain until pliable. They are then split into strips of proper
thickness and width. Factories use a very simple motor driven
machine for making the strips, and any manual training shop can
devise some scheme for accomplishing this work. These strips cut
in indefinite lengths must be made pliant by a thoro soaking just
previous to use. In weaving they should be pressed close together
with the fingers or with the aid of a hammer, as there is an appreci-
able shrinkage especially in their width upon drying. Such strips
are used mainly by builders of rustic outdoor and porch furniture
for the weaving of the backs, arms and seats of chairs, and have
at present no general use in school shops. Their use here should
be encouraged. If bought of the manufacturer these strips cost 40
cents per pound, dry. They are put up in coils, and are ^4 in. wide
and I/ 1 6 in. thick. They may be stripped into narrower widths
by means of a hand stripper, soon to be described.

Indian splints of ash and hickory may be obtained from dealers

REED AND SPLINT WEAVING 61

in the raw products. These strips are cut from the wood of the
tree in long shavings in a manner similar to obtaining the inner
hickory bark, and stripped into desired widths and thicknesses.
One kind of ash splint is made in three weights or thicknesses, fine,
medium and heavy, and in strips i^ in. wide. It is sold in

FIG. 51. WORKING DRAWING OF HAND STRIPPER AND GAGE.

coils of 200 ft. each at $8.00 for 4,000 ft. The strips are a number
of feet in length. Hickory splints are sold in coils of a dozen
strands each. These strands are 8 ft. to 10 ft. long by ^ in. wide,
and slightly less than 1/16 in. thick. A coil weighs about three-
fourths of a pound and costs 5 cents.

The ash splints particularly, need to be restripped to widths
needed by the worker. For ordinary purposes the hickory strips
are right for seating purposes. The stripping is done by means of
a combination hand stripper and gage shown in Fig. 50. A work-
ing drawing of it is shown in Fig. 51. It is made of maple pref-
erably. The cutters are of a watch spring, pointed and sharpened
as indicated. The end piece is removable to permit changes of the
cutters. To use, merely hold the splint flat between the right hand
and stripper, press the strand down on the cutter and pull it across
the cutters wTith the left hand. Two persons ma)' do the operation
more readily and speedily than one. It is a good policy to make
several of these devices with cutters at different distances apart so

62 SEAT WEAVING

splints of various widths may be cut without resort to a change
of cutters.

Splints need to be soaked in water for a number of minutes before
using. They will be found to be somewhat less pliable than inner

FIG. 52. ROLLS OF SPLINTS, INNER BARK, AND REED.

hickory bark, and different in color, varying from almost white to
a light brown. Inner bark is a nut brown in color. The splints
stain well, and may be dipped in identically the same manner as
reeds. Inner bark needs no stain ; in fact is more pleasing if left
natural.

Ash splints are extensively gathered and prepared by the Indians
in certain sections of Canada and the northern states. There they
are woven into baskets of intricate design and beautiful colors,
usually in combination with other materials, as sweet grass. Splints
may be used for almost every purpose for which flat reed is utilized,
and in numerous cases is superior and preferable to reed.

In Fig. 52 is shown in order, two rolls of hickory splints, a
bundle of inner hickory bark strips, and a small hank of flat reed.
These are in the original bundles as they come from the dealers.

CHAPTER VII
SEATS OF REEDS AND SPLINTS

The discussion of the weaving processes to follow is confined;
in the main, to stools or seats. Fig. 53 shows several stools different
in design both in wood construction and in weaving. In two in-
stances it will be noted that weaving is done over a separate frame,
one being inserted between the rails, the other fastened on top,
leaving a little projection. Reference is made to several possible
weaving designs and the use of various mediums and combinations.
The possible combinations of materials are merely suggestive of
possible other ones, and the individual worker will find that many
designs of varying complexity may be worked out. An excellent
method for working out possible designs is that of using black and
white paper strips y2 in. in width. The design will show up very
clearly because of the contrast of the black and white. Experi-
menting with the weave on the seat itself is rather tedious and
unsatisfactory. The paper strips are an excellent means to an end.

The stool top illustrated in Fig. 54 employs a simple over-and-
under weave, utilizing flat reed. The worker needs to decide at
the outset on the character of weave to be used unless it be of
unusual design. In this instance the weaver runs over three and
under three strands, and the wrapping done in a series of three.
To begin the operation tack an end of flat reed under a short rail
at a corner, then bring the strand out and over the rail, across the
frame opening to the opposite rail, under this rail, across under-
neath the frame opening to the bottom of the first rail. This com-
pletes the process once around. Repeat three times ; then wrap the
strand around the two rails, without running it across the top.
Thus every fourth strand across the top is omitted. It is not
necessary to cut the strand; the wrapping is continuous. Repeat

64

SEAT WEAVING

these series of three strands until opposite short rails are entirely
wrapped. When a strand runs out tack the end with the beginning
of a new one underneath a rail. Use a one ounce flat head wire

FIG. 53. WOVEN TOP STOOLS.

tack for this purpose if available, otherwise a one ounce cut tack
will do. The weaving proper now begins.

Tack a strand underneath a long rail at a corner, then weave
over three strands and under three. Repeat in the same manner

SEATS OF REEDS AND SPLINTS 65

three times, then weave over the series which were woven under
before and repeat alternately until the top is entirely woven. In
weaving the top of this stool one strand is woven in the last series
of three, and to balance it a single strand is run in on the opposite

FIG. 54. WEAVING IN SERIES OF THREE.

side. The ends of this strand are not fastened in any particular
way ; the weaving holds them in place. The spaces next to each
short rail may be filled in a like manner if desired. Strands crossing
underneath the frame must be woven in some manner to produce
a seat of maximum strength. The character of the weave here is
not pertinent; in this instance it might take the same form as
the top.

Fig. 55 shows a stool top woven of inner hickory bark strips
employing what is termed a diagonal weave. Begin the wrapping
on either the short or long rails. In this instance we will assume

66

SEAT WEAVING

that the short rails have been wrapped ; then the weaving will
begin over the long rails, and as indicated, at the upper left hand
corner. The strands have been numbered to make the description
clearer. The "diagonal" is determined at the edges of the upper

FIG. 55. STOOL TOP OF INNER HICKORY STRIPS.

rail. The method of weaving may be expressed in the following
manner:

Strand I — Over I, under 2, over 2, under 2, and so on.

Strand 2 — Over 2, under 2, over 2, under 2, and so on.

Strand 3 — Under I, over 2, under 2, over 2, and so on.

Strand 4 — Under 2, over 2, under 2, over 2, and so on.
This completes the series or unit, and this unit repeats itself until
the area is woven. For instance, the fifth weaver follows the
same course as the first; the sixth weaver follows the same course
as the second ; the seventh the same as the third ; and so on. The
diagonal effect will remain the same were the weaver to run over

SEATS OF REEDS AND SPLINTS 67

three strands or more, providing the right start is made at the edges
of the frame. In using inner hickory bark care must be exercised
to keep the strands close together, for they shrink appreciably in
drying. A brad hammer with square face is an excellent tool to
use for keeping the strands snugly together.

FIG. 56. STOOL TOP OF FLAT AND HALF-ROUND REEDS.

A combination of half-round and flat reed is illustrated in Fig.
56. The half-round reed is wrapped about the frame first, and
in this case every other strand is wrapped around the opposite rail,
crossing underneath the frame only. The diagonal weave is em-
ployed, and is identical to the one just described in general effect.
However, the weaver runs over three and under three in the body.
Note the difference in the weave at the edges of the rails. When
using half-round reed it is necessary that every other strand be

68 SEAT WEAVING

wrapped completely around the rails, for otherwise it would prove
practically impossible to weave the area because of the thickness
of the reed. A winding reed as shown in Fig. 49 or binder cane
could be run continuously, inasmuch as either is relatively thin.
Weaving with two kinds of reed will produce an area of pleasing
high relief.

FIG. 57. DIAMOND DESIGN IN FLAT REED.

Fig. 57 illustrates a stool woven in flat reed. The diagonal
weave is used running toward a common center, and it forms a
diamond pattern or design. Begin wrapping on the long rails,
skipping every other strand on the top as indicated. To weave this
pattern it is necessary to locate the center of the short rails and
the center strand of those running across the frame. In this instance
the strands are even in number, so the pattern does not begin at
the actual center, but a little to the right or left as the case may be.
Beginning at the center, count by twos, over, under and over, under
and so on to determine the number of strands to go over or under

SEATS OF REEDS AND SPLINTS 69

at the edge of the frame. The first strand runs over one at the
center, and over two and under two on either side. The second
strand runs under three at the center, and over two, under two on
either side ; the worker must again count to the edge of the frame

FIG. 58. DIAMOND WEAVE IN FLAT AND HALF-ROUND REEDS.

to determine the beginning weave, until the unit of four strands
has been woven. Then the unit repeats itself at the center and
at the edges of the frame. Beginning at the right side of the
illustration the weaving is as follows:

Strand i — Over 2, under 2, over 2, under 2, over 2, under 2,'
then over I, and repeat across the other half of the
frame.

Strand 2 — Under i, over 2, under 2, over 2, under 2, over 2,
then under 3, and repeat across the frame.

70 SEAT WEAVING

Strand 3 — Under 2, over 2, under 2, over 2, under 2, over 2,
then under i, and repeat across the frame.

Strand 4 — Over I, under 2, over 2, under 2, over 2, under 2,
then over 3, and repeat across the frame.

FIG. 59. WOVEN DESIGN IN FLAT KEED.

These four strands comprise the unit, and it is repeated until the
frame is entirely woven. Complete half of the frame first, then
weave the other half, which is just the reverse of the first half.
In starting the weave for the second half, strand i is omitted, for
it is the center of the frame. After the worker has worked out
the unit according to the method described, he will find it good
practice to write it out graphically as above to use in weaving the
seat. The unit above applies to the particular stool, and will not
hold good on seats utilizing more strands, or fewer. Errors are
easily made in weaving this pattern for the reason that strands need
watching at two places. The seat of the stool at the top of the

SEATS OF REEDS AND SPLINTS

71

group shown in Fig. 61 has a pattern identical with this one, except
that the strands both ways are close together.

The top illustrated in Fig. 58 is practically the same in design
as the one just described. The weavers run over the long rails in

FIG. 60. STOOL TOP WOVEN WITH FIBER.

this instance, instead of the short ones, and half-round reed is used
for the weavers, with flat reed utilized for the wrapping. The
first weaver of half-round reed runs under the center strand, and
the two second weavers run over three strands on either side of
the first, at the center of the area. The combination of the half-
round and flat reeds produces a seat both pleasing and serviceable.
Fig. 59 illustrates a stool top woven with flat reed entirely, in
a design the very opposite in effect of that shown in Fig. 57 ; instead
of evolving a diamond effect the diagonals appear to radiate from a
common center. The method of weaving is identical to that of
Fig. 57 in that the operation begins at the center of rails instead
of next to the posts. The first \veaver is woven over the center

72 SEAT WEAVING

strand at the center of the top, and the second weaver, on either
side, is woven over three strands, at the center. These three
weavers practically determine the design and effect produced. An
error of no vital importance exists in this particular stool top.
It will merely emphasize the fact that particular care is necessary
to avoid mistakes.

Fiber is the material used for the top of the stool shown in Fig.
60. The diagonal weave is employed. The process of weaving
has been explained and needs no further discussion. The fiber is
the same as that discussed in Chapter V. It adapts itself admirably
to this form of weaving, and when properly finished with varnish
makes a serviceable seat, pleasing in every particular. The strands
which run across the frame in the wrapping must be some distance
apart, otherwise weaving would prove impossible. The thickness
of the strands preclude their being wrapped close together as in the
case of thin materials. In this case a space equal to the width of
three strands is left. The weaver runs over two and under two
strands in the body.

While reeds and inner hickory bark shrink in drying, they will
shrink mostly in width and not much in length. Therefore it is
necessary to pull all strands, both in wrapping and in weaving,
rather tight at all times. Only by doing this will the worker be
assured of an ultimately taut seat. This applies also to the Indian
splints now to be discussed. As fiber is woven practically dry it
needs to be pulled particularly tight.

Indian Splints. — Fig. 61 shows a group of stools and a waste
basket constructed in eighth grade shops. The tops of the stools
and the panels of the basket are woven of hickory splints l/2 in.
in width. A variety of patterns is shown, and these will suggest
other ones. One of the stools has turned posts and the splints are
carried over the sides of the rails. With slight modification of the
structure, the sides might be woven in a similar manner to the top.
The panels of the basket were woven over a separate frame, then
they were cut to fit the frames of the basket, and finally tacked on

SEATS OF REEDS AND SPLINTS 73

the frames. The edges of the splints were covered with thin wood
strips held in place with brads. These panels should be inserted
and secured while damp to assure proper tautness, and to prevent

FIG. 61. GROUP OF STOOLS. TOPS WOVEN WITH INDIAN SPLINTS.

as far as possible splitting the ends of the splints in tacking them
to the frames.

It is not advisable to tack splints onto seat frames, either as an
insert or slip seat, or on the rails of the structure itself. The splints

74

SEAT WEAVING

FIG. 62. METHOD OF FASTENING ONE STRAND
TO ANOTHER.

split easily when tacked, the strands are bound to pull loose, and
the seats break down under continued use. On such articles as
waste baskets, boxes, screens and the like, tacking the panels in
place is necessary and proper, for no appreciable wear or service

comes to them. The
weaving on seats needs
to be continuous over and
under the frame.

When a strand of
usual length has been
wrapped about the rails
of the seat a second
strand needs to be added

to continue the wrapping. Tacking the strands to the under side of
the rails, as in the case of reeds, cannot be resorted to with splints
for the reasons just explained. Therefore some method of fastening
strands to each other is necessary. Fig. 62 is a freehand sketch
showing a good method. As indicated, a small rectangular piece
is cut out of the used strand at B,
one inch from the end. A chisel
or chip carving knife is good for
the purpose. Cut across the grain
of the wood first to avoid splitting
the splint. The end of the new
strand A is notched as shown an
inch back from the end, and is

then inserted thru B and the two strands thus secured. All sub-
sequent strands are secured in the same manner.

Another method which works well and involves less labor than
the one just described is that of fastening the strands together with
metal staples. Any type of small hand stapler will accomplish the
result. The splints must be very pliable when the staple is inserted
and clinched, for if they are not, the splints are certain to split.
Clips used in Venetian ironwork are excellent for this purpose also.

FIG. 63. METHOD OF OVERLAPPING
WEAVERS.

SEATS OF REEDS AND SPLINTS

7f>

It should be understood, for reasons very obvious, that these fasten-
ings are made underneath the frame.

After the wrapping of the opposite rails is completed, the weav-
ing is begun. The use of tacks here is also unnecessary and is in-

FIG. 64. WOVEN DESIGN IN HICKORY SPLINTS.

advisable. Fasten a new strand by overlapping the end of the old
one for several inches either on top or underneath the frame. The
ends of each will be hidden under cross strands or spokes. Fig. 63
is a sketch illustrating the method of overlapping. A A shows
strands running over the weavers, and BB strands running under.
D is the end of the old or used strand, and C one end of the new
one. C is pulled until the end is hidden under A. It is advisable
to overlap the distance of a number of strands and not merely two
as the sketch indicates. The sketch merely shows the method.
The end of the strand which completes the weaving of the seat is
secured underneath the frame by weaving for a short distance in
the usual manner.

76 SEAT WEAVING

Fig. 64 is merely Fig. 59 repeated as far as the weaving processes
are concerned. In this instance hickory splints are used, and the
rails are wrapped continuously across the top. Note the different
effects produced, by comparing the two figures.

Fig. 65 shows a rather unusual weave. The effect is that of a
number of diamond areas over the entire surface, one of which is

FIG. 65. WOVEN DESIGN. DIAMOND EFFECT.

marked to make the unit or design evident. This design need not
begin at the center, but may begin at the edge of the frame as in
regular diagonal weaving shown in Fig. 55. The strands com-
prising the unit are numbered for convenience. The process of
weaving is as follows :

Strand I — Under I, over 2, under I, over 2, and so on.

Strand 2 — Over 2, under 3, over 3, under 3, and so on.

Strand 3 — Over i, under 2, over i, under 2, and so on.

Strand 4 — Under 2, over 3, under 3, over 3, and so on.

SEATS OF REEDS AND SPLINTS 77

Strand 5 — Under i, over 2, under I, over 2, and so on.
Strand 6 — Under 2, over 3, under 3, over 3, and so on.
Strand 7 — Over i, under 2, over i, under 2, and so on.
Strand 8 — Over 2, under 3, over 3, under 3, and so on.
Strand 9 — Under I, over 2, under I, over 2, and so on.
Nine strands comprise the unit. One half of the unit from

FIG. 66. DESIGN OF INDIAN SPLINTS.

strand 5 is a repetition of the first half except that the order is
reversed. Thus strands 4 and 6, 3 and 7, 2 and 8, and I and 9
are identical in weave. Repeat the unit until the seat is completed.
The design produced in Fig. 66 is obtained by skipping certain
strands for rather unusual distances. This may be done in instances
where the pattern is begun at the center of the area. No strand
should be omitted its entire length however. Any number of
designs may be worked out, limited only by the patience and in-
genuity of the individual worker.

78

SEAT WEAVING

A design tor a seat or panel not illustrated herein, but which is
particularly pleasing in its general effect, is produced by a unit of
six strands repeated indefinitely. The weaving is started as in the
diagonal weave and the process may be indicated as follows:

FIG. 67. METHOD OF WEAVING SPLINTS.

Strand I — Over i, under 3, over 3, under 3, and so on.

Strand 2 — Over 2, under 3, over 3, under 3, and so on.

Strand 3 — Over 3, under 3, over 3, under 3, and so on.

Strand 4 — Under i, over 3, under 3, over 3, and so on.

Strand 5 — Under 2, over 3, under 3, over 3, and so on.

Strand 6 — Under 3, over 3, under 3, over 3, and so on.

The isometric sketch of a stool, Fig. 67, shows the structure
partly woven. It will be noticed that the splints or reeds run both
ways underneath the frame as they do on top. As indicated pre-

SEATS OF REEDS AND SPLINTS

79

viously these strands underneath should be woven in some manner

to assure a seat of maximum strength for the material used. The

diagonal weave was arbitrarily chosen to illustrate the method of

weaving the seat frame. The weaving underneath is not shown

on the sketch. If the rails on any

seat are run flush with the inside

corners of the posts the woven

strands will fill the entire space.

On the other hand, if they are

permitted an offset, a series of

open spaces are left as shown on

the first woven seat illustrated.

The sketch shows the rails flush

with the inner corner of the posts.

A Rustic Chair. — The type of
chair which is particularly adapt-
ed to splint weaving is illustrated
in Fig. 68. The construction is
simple, and the necessary bending
of pieces is readily done if a suit-
able steaming chest is available
in the shop. Such a chest may
be made of a 6 in. gas pipe cut

the required length and threaded at both ends. Cap one end per-
manently. Have the cap for the other end removable, with a gasket
in it to prevent the escape of steam, and a suitable handle attached
for ease in removing. Set the pipe upon a standard, then make the
necessary steam connections at the closed end and the drain at the
other. Place the wood in the chest, screw on the cap, and turn on
the steam. The length of time the wood should remain in the'
steam depends upon the wood and the size of the piece.

Suitable wood forms are easily made for bending stock. Their
construction needs no elaboration. When the pieces are removed
from the chest, clamp them over the forms immediately, and allow

FIG. 68. PORCH CHAIR WITH BACK
AND SEAT WOVEN WITH SPLINTS.

80 SEAT WEAVING

them to remain clamped in this manner for several days in a dry,
warm room. If steam coils or hot air registers are handy the forms
may be placed over or near them to expedite the drying.

Rock elm is a good material from which to construct such a chair.
The wood may be procured in the round, of different diameters.
The tenons on the straight pieces may be made on the wood lathe ;
on the curved ones with spokeshave or draw knife. The short
thin pieces on the sides should be fully housed. On a chair of this
description it is good policy to assemble the sides first. Finish both
the frame and the splints with a good paint composed of white lead
and oil.

Another excellent material for chairs of similar design and pur-
pose is hickory. It is the best material for the construction of
furniture for lawns and porches where weathering is constant, and
it is peculiarly adapted to splint and inner bark weaving. If a
person lives in the right locality he may gather young second growth
hickory saplings in the fall. An instructor could very readily take
his classes out on such a wood-gathering expedition. The educa-
tional gain in gathering raw materials to be fashioned into finished
articles of use and beauty will justify all efforts. In the fall the
bark of the saplings will adhere firmly to the wood. Trim and
assort the different pieces in accordance with plans, cut them into
approximate lengths, and steam and bend those desired. Sand each
piece smooth, and proceed to construct the chair according to pre-
vious plans. Glue and nail all important joints to prevent any possi-
bility of separation under any weather condition. No finish of any
description is necessary or desired on hickory furniture. Weathering
will naturally darken both frame and splints, but will not detract
in any way from the rugged, pleasing appearance of the article.

Sassafras is a very desirable wood for rustic furniture, and well
adapted to splint weaving. The methods of gathering and finishing
are identical to hickory. It is much lighter in weight than hickory,
but is quite as serviceable. No finishing agent is necessary, altho the
worker may oil or varnish it at his discretion.

SEATS OF REEDS AND SPLINTS 81

A Woven Table. — The table illustrated in Fig. 69 is a com-
mercial product, evidenced by the machine turned posts and cross-
pieces. In school shops the posts may be made of rock elm rounds
previously mentioned, or square tapered, and the rails of rounds
or squares. The posts mortise in a frame underneath the top. The
framework of the top is made of y% in. dowel rods housed in a
6 in. round piece of ^4 m- wood, and radiating from it equal
distances apart. The number of spokes needs to be odd, and cut
to even lengths. The weaving is done with about a No. 6 reed,
running over one, under two, over one, under two, and so on. The
odd spoke permits the weaver to run continuously without skipping
a spoke. A new strand is begun underneath the spoke where the
last strand ends. When the top has been woven to the ends of the
spokes a strip of braided No. 2 reed is nailed to each spoke with
a round head, galvanized nail. The braid is made in the usual
manner, as in basketry, with three series of strands of four each.
When the shelf has been constructed in the same manner as the
top, and both top and shelf have been fastened in their respective
places, the table may be stained with naptha by pouring the stain
over it. This method has been described in Chapter VI. Com-
mercially, such articles are sized before staining. However, staining
direct is the proper procedure in school shops. Use no shellac if
the table is to be used on the porch or in the open where exposed
to the weather.

Willows. — Willows are imported normally from Germany,
Holland, Belgium and France. Because of their scarcity and
demand for them, willow growing is fast becoming a thriving
industry in the United States. Many experimental farms are under
the direct supervision of the federal government. These have
demonstrated that willows can be grown to advantage in many
localities in this country. In many instances manufacturers have
abandoned rattan in favor of willows for certain articles of fur-
niture where rattan was formerly used exclusively. Willow pos-

82

SEAT WEAVING

sesses all the attributes necessary for such furniture, being light in

weight, durable, and strong; and it takes a good finish.

Willow stems or rods are cut when several feet long. They are

then soaked in water and the outer bark peeled. The rods are then
sorted, bundled and shipped to the
dealer or user. The peeling is gen-
erally accomplished by hand with a
peculiarly forked stick or rod. Com-
mercially there are what are termed
dry peeled rods and steam peeled
rods, with the former in favor for
furniture of the better class. They
sell for from 6 cents to 15 cents per
pound, depending on quality, length
and method of peeling. WillowT
stems are used extensively in bas-
ketry, and for porch and summer
furniture. They could be used ef-
fectively on such a table as shown
in Fig. 69, but cannot generally be

utilized advantageously in school shops for seating purposes only.

However, they have very definite uses on some structures, and an

adequate supply should be kept on hand for use when opportunity

offers.

FIG. 69. A WOVEN CENTER TABLE.

Within the confines of this book a variety of materials has been
suggested, and many demonstrated, for seat weaving of various
kinds and for weaving on structures other than seats. These will
ordinarily afford sufficient latitude for classes of different grade in
the school shops, but the instructor or worker should not infer that
those indicated include all. Experience in weaving with these
materials will suggest new mediums and combinations without

SEATS OP REEDS AND SPLINTS

83

number, and experimentation with new materials by both instructor
and pupil should be encouraged.

SUGGESTIVE PROJECTS.

84 SEAT WEAVING

The following firms and individuals can furnish the various
weaving materials indicated. They may undoubtedly be procured
locally in the larger cities.

CANE

LUSSKY, WHITE AND COOLIDGE Chicago, 111.

AMERICAN REED AND RATTAN MFG. CO. .Brooklyn, N. Y.

HOOVER BROS Kansas City, Mo.

L. s. DRAKE, INC West Newton, Mass.

CANE WEBRIXG

LUSSKY, WHITE AND COOLIDGE Chicago, 111.

RESTMOER MFG. co Vancouver, B. C.

FIBER

THE FIBER GRAND co Grand Rapids, Mich.

j. L. HAMMET co -. Brooklyn, N. Y.

RUSH

L. s. DRAKE, INC West Newton, Mass.

GUSTAV STICKLEY Eastwood, N. Y.

INDIAN SPLINTS

c. N. SABA AND co 84 Wellington St. West,

Toronto, Ontario.
DAVID HARDIN Patesville, Ky.

REEDS

LUSSKY, WHITE AND COOLIDGE Chicago, 111.

AMERICAN REED AND RATTAN MFG. CO. .Brooklyn, N. Y.

j. L. HAMMET co Brooklyn, N. Y.

INNER HICKORY BARK
THE OLD HICKORY CHAIR co Martinsville, Ind.

DESIGN AND CONSTRUCTION IN WOOD. By Noyes. A book full of charm
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WOOD AND FOREST. By Noyes. A reference book for teachers of woodworking.
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ESSENTIALS OF WOODWORKING. By Griffith. A textbook written especially
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FURNITURE MAKING— ADVANCED PROJECTS IN WOODWORK. By
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PROBLEMS IN WOOD-TURNING. By Crawshaw. Contains 25 full-page plates
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GRAMMAR GRADE PROBLEMS IN MECHANICAL DRAWING. By Bennett.
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BOOKS ON THE MANUAL ARTS. A bibliography listing and describing 400 books
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